| Irish Country Songs 4 Voc/kybd Boosey and Hawkes
SKU: HL.48009896 Composed by Herbert Hughes. Boosey & Hawkes Voice. 112 p...(+)
SKU: HL.48009896
Composed by Herbert
Hughes. Boosey & Hawkes
Voice. 112 pages. Boosey
& Hawkes #M060033551.
Published by Boosey &
Hawkes (HL.48009896).
UPC: 073999685411.
8.5x11.75x0.345
inches. Voice and
Keyboard. Contents:
Lovely Mollie * I'm a
Decent Good Irish Body *
The Star of the County
Down * Oh Father, Father,
Build me a Boat * I Have
a Bonnet Trimmed with
Blue * She Lived Beside
the Anner * Where the
Grass Grows Green * The
Fenians of Cahirciveen *
Oh, Limerick is Beautiful
* The Bold Tenant Farmer
* The Dear Irish Boy *
The Old Turf Fire * The
Hounds of Filemore * My
Blue Eyed Mountain Queen
* The Black Ribbon-Band *
My brown-haired Boy * My
Bonny Labouring Boy * A
Young Maid Stood in her
Father's Garden * Tigaree
Torum Orum * Johnny Doyle
* I'm in arrears * The
Philippine Soldier *
Innisfree * Green Grows
the Laurel * The Top of
Inny's Side * The Little
Black Rose * The Dingle
Puck-Goat. $45.00 - Voir plus => Acheter | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String
Quartet SKU:
PR.16400272S
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S). UPC:
680160588442. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Oxford Nursery Song Book Livre - Pas de partitions Contes et comptines [Partition] Oxford University Press
By Percy Buck. Arranged by Jean Gilbert. For Nursery rhymes for ages 3-5. Song B...(+)
By Percy Buck. Arranged
by Jean Gilbert. For
Nursery rhymes for ages
3-5. Song Book.
Miscellaneous. 80 pages
$29.25 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Nora's Dance Piano seul Theodore Presser Co.
Chamber Music Piano SKU: PR.140401310 Composed by Nora Holt. Edited by La...(+)
Chamber Music Piano
SKU: PR.140401310
Composed by Nora Holt.
Edited by Lara Downes.
Sws. Score. 8 pages.
Duration 2 minutes.
Theodore Presser Company
#140-40131. Published by
Theodore Presser Company
(PR.140401310). ISBN
9781491134153. UPC:
680160684250. 9 x 12
inches. Key: G
major. NORA’
S DANCE is a
jazz-influenced rag from
1921, and among the only
surviving compositions by
Nora Douglas Holt. A
charming and exciting
work rejuvenated by Lara
Downes’ 2021
recording for the Rising
Sun label, the rag is
both a fun 2 minutes for
pianists and audiences,
and also a fascinating
time capsule. Composed
several years after Scott
Joplin’s death,
and several years before
the Charleston pervaded
popular music,
NORA’S DANCE
blossoms with the energy
and jazz harmony starting
to emerge as The Roaring
20’s, using
ragtime and stride as the
seed for pianistic
style. My own life in
music has been driven by
a quest to find strong
female role models,
trails to follow,
shoulders to stand on. In
Nora Douglas Holt, I find
an inspiring example of
creativity, independence,
and resilience –
with a dash of
troublemaking. She was a
free spirit, a force of
nature, and she lived a
fascinating and eventful
life on her own terms.
She reinvented herself
through five marriages
and at least as many
careers. From her
beginnings at the piano
at age four, she explored
many avenues of musical
expression –
performing, composing,
music journalism,
broadcasting, teaching
– all with
inventiveness, style, and
zeal.She made the most of
the Roaring ’20s,
as an artist, socialite,
jetsetter, muse, and
patroness of the Harlem
Renaissance. In 1921 she
started an independent
arts journal called
“Music and
Poetry,†where the
charming piano solo
Nora’s Dance was
first published. I think
the piece captures
beautifully, in a little
under 2 minutes, the
energy and excitement of
those heady years.In
1926, Nora left New York
to travel the world,
performing in nightclubs
throughout Europe and
Asia. She put her
belongings in storage
before she left, and when
she came back she
discovered that many of
her things had been
stolen, including more
than 200 of her musical
compositions. She never
composed again.When the
Depression hit, she moved
out to Los Angeles, where
she studied music
education at USC, taught
music in the LA public
schools, and opened her
own beauty salon. She
returned to New York in
the ’40s and
worked as a music critic
for several major
newspapers, then launched
yet another career, this
time in broadcasting. Her
popular radio concert
series “Nora
Holt’s Concert
Showcase†broadcast
to New York’s
classical music audience,
with a focus on Black
composers and
performers.Ahead of her
time, larger than life,
full of ideas…. I
am so pleased to
introduce you to the
feisty and free spirited
Nora Douglas Holt! $9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rites for the Afterlife Theodore Presser Co.
Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxopho...(+)
Chamber Music Bass
Clarinet, Bassoon,
Clarinet, English Horn,
Oboe, alto Saxophone,
soprano Saxophone SKU:
PR.114419980 Composed
by Stacy Garrop. Sws. Set
of Score and Parts.
32+16+16+16+16+16 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41998. Published by
Theodore Presser Company
(PR.114419980). UPC:
680160681723. 9 x 12
inches. The ancient
Egyptian empire began
around 3100 B.C. and
continued for over 3000
years until Alexander the
Great conquered the
country in 332 B.C. Over
the centuries, the
Egyptian empire grew and
flourished into a highly
developed society. They
invented hieroglyphics,
built towering pyramids
(including the Great
Pyramid of Giza, the
oldest of the Seven
Wonders of the World),
and the created many
household items we still
use today, including
toothbrushes, toothpaste,
eyeliner, black ink, and
the forerunner of
modern-day paper.
Included among their
achievements were a
series of highly
developed funerary
practices and beliefs in
the Afterlife. As the
average lifespan of an
Egyptian hovered around
30 years, living past the
death of oneAs physical
body was a legitimate
concern. Egyptians
believed that upon death,
their souls would
undertake a harrowing
journey through the
Netherworld. If they
survived the horrific
creatures and arduous
trials that awaited them,
then their souls would be
reunified with their
bodies (hence the need to
preserve the body through
mummification) and live
forever in a perfect
version of the life they
had lived in Egypt. To
achieve this, Egyptians
devised around 200
magical spells and
incantations to aid souls
on the path to the
Afterlife. These spells
are collectively called
The Book of the Dead.
Particular spells would
be chosen by the family
of the deceased and
inscribed on the tombAs
walls and scrolls of
papyrus, as well as on a
stone scarab placed over
the deceasedAs heart.
Subsequent collections of
spells and mortuary
texts, such as The Book
of Gates, assisted a soul
in navigating the twelve
stages of the
Netherworld. Not only did
these spells protect and
guide the soul on this
dangerous path, but they
also served as a
safeguard against any
unbecoming behavior an
Egyptian did while alive.
For instance, if a person
had robbed another while
alive, there was a spell
that would prevent the
soulAs heart from
revealing the truth when
in the Hall of Judgment.
Rites for the Afterlife
follows the path of a
soul to the Afterlife. In
Inscriptions from the
Book of the Dead
(movement 1), the soul
leaves the body and
begins the journey,
protected by spells and
incantations written on
the tombAs walls. In
Passage though the
Netherworld (movement 2),
the soul is now on a
funerary barque, being
towed through the
Netherworld by four of
the regionAs inhabitants.
We hear the soul slowly
chanting incantations as
the barque encounters
demons, serpents,
crocodiles, lakes of
fire, and other terrors.
The soul arrives at The
Hall of Judgment in
movement 3. Standing
before forty-two divine
judges, the soul
addresses each by name
and gives a A!negative
confessionA(r) connected
to each judge (i.e. A!I
did not rob,A(r) A!I did
not do violence,A(r) and
so on). Afterwards, the
soulAs heart is put on a
scale to be weighed
against a feather of
MaAat, the goddess of
truth. If the heart
weighs more than the
feather, it will be eaten
by Ammut, a hideous
creature that lies in
wait below the scale, and
the soul will die a
second and permanent
death (this was the worst
fear of the Egyptians).
But if the heart is in
balance with the feather,
the soul proceeds onward.
The final stage of the
journey is the arrival at
The Field of Reeds
(movement 4), which is a
perfect mirror image of
the soulAs life in
ancient Egypt. The soul
reunites with deceased
family members, makes
sacrifices to the
Egyptian gods and
goddess, harvests crops
from plentiful fields of
wheat under a brilliant
blue sky, and lives
forever next to the
abundant and nourishing
waters of the Nile. Rites
for the Afterlife was
commissioned by the
Barlow Endowment on
behalf of the Akropolis
Reed Quintet, Calefax
Reed Quintet, and the
Brigham Young University
Reed Quintet. -S.G. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Taiwan Fantasia for Brass Quintet Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba - Avancé Cherry Classics
Brass Quintet - Advanced SKU: CY.CC3020 Composed by John van Deursen. Arr...(+)
Brass Quintet - Advanced
SKU: CY.CC3020
Composed by John van
Deursen. Arranged by John
van Deursen. Classical.
Score and Parts. Cherry
Classics #CC3020.
Published by Cherry
Classics (CY.CC3020).
ISBN 9781774310601.
8.5 x 11 in
inches. About the
Taiwan Fantasia, van
Deursen states: After
having lived in Taipei
for a number of years, I
learned many of the local
folk and popular songs.
Some of the melodies are
exceptionally beautiful,
and my idea was to
somehow combine all the
elements that have made
up my musical experiences
over these years -
Chinese melodies, western
orchestral music and
jazz; I wanted to see if
these songs could survive
with a totally different
harmonic structure and
concept. My original goal
was to write a simple
arrangement of the two
songs, but quickly I
discovered more melodies
building upon the
original ones and thus
the Variations were born.
Composed in 1995, this
work of about 10 minutes
in length is in one
continuous movement, but
is divided into seven
short sections of
contrasting moods
including two cadenzas,
for Trumpet and Trombone.
The music is appropriate
for advanced performers.
Parts in C and B-flat are
supplied for the
Trumpets. A recording of
Taiwan Fantasia can be
purchased on iTunes from
the album by the Yeh Shu
Han Brass Quintet. $37.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| E-Z Play Today #239. The Big Book Of Children's Songs Piano, Voix et Guitare [Partition] - Facile Hal Leonard
For voice, easy piano and guitar (chords only). Hal Leonard E-Z Play Today. Song...(+)
For voice, easy piano and
guitar (chords only). Hal
Leonard E-Z Play Today.
Songbook (big note
notation). Big note
notation, lyrics, chord
names and registration
guide. 144 pages.
Published by Hal Leonard
$14.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Songs of Wales Piano, Voix et Guitare Boosey and Hawkes
51 Favourite Songs. By Various. Arranged by Margery Hargest Jones. (Voice and P...(+)
51 Favourite Songs. By
Various. Arranged by
Margery Hargest Jones.
(Voice and Piano). Boosey
and Hawkes Voice. Size
8.25x11.75 inches. 107
pages. Published by
Boosey and Hawkes.
$35.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720). UPC:
680160573042. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Cimarron Playing Score Schott
Baritone, flute, guitar, percussion (Score) SKU: HL.49006325 Biography...(+)
Baritone, flute, guitar,
percussion (Score)
SKU: HL.49006325
Biography of the
runaway slave Esteban
Montejo. Composed by
Hans Werner Henze.
Arranged by Hans Magnus
Enzensberger. This
edition: Ring/Spiral
binding. Sheet music.
Edition Schott.
Classical. Playing score.
Composed 1969-1970. 100
pages. Duration 76'.
Schott Music #ED6454.
Published by Schott Music
(HL.49006325). ISBN
9790001068543. UPC:
888680790974.
17.75x21.75x0.689 inches.
German -
English. The making
of El Cimarron began in
about 1986, with a
conversation I had with
Hans Magnus Enzensberger
about the difficulties of
writing political songs
today that would go
beyond the achievements
of Eisler, Weill and
Dessau in this field. It
seemed to me that I might
try to tackle the problem
by writing a cycle with a
variety of musical
materials out of which
perhaps something novel
might emerge in a new and
different context, almost
by chance. Enzensberger
told me of the recent
publication of a
biography by Esteban
Montejo, an old Afrocuban
who lived in Havana and
who recalled his
adolescence as a slave,
and suggested that I
should set episodes from
this book that he,
Enzensberger, would
select for my
experimentation.El
Cimarron, however, did
not turn into a cycle of
songs and was, indeed,
not even intended as such
- what came out of the
work is a new form of
theatrical music
making.Singer, flautist
and guitarist are
occasionally required to
play percussion
instruments.- Hans Werner
Henze
Mitwirkende:
Bariton - Flotist (Picc.
* Fl. * Altfl. * Bassfl.
* Ryuteki [oder Picc.] *
Mundharm. [Harmonetta] *
Trillerpf. * Maultrommel)
- Gitarrist -
Schlagzeuger (3
Fingerzimb. * Vibr. *
Marimba * 3 Herdengl. * 3
hg. Beck. * 2 Tamt. * 13
Tomt. [chrom.] * 3 Bong.
* kl. Tr. * 8 Boo-bams *
4 Log Drums * Cong.
[Tumba] * Trinidad Steel
Drum * gr. Tr. [mit Ped.]
* Mar. * Guiro * Kette
auf Holz * Kette auf
Metallplatte * 3 Dobaci *
Clav. * Matraca * hg.
Bambusstabe * hg.
Glasstabe [Glasspiel] *
Shell Chimes *
Vogellockrufe * Marimbula
* 2 Donnerbleche). $221.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ralph Hultgren : Masada Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Brolga Music Publishing Company
By Ralph Hultgren. Concert Band. Brolga Music Symphonic Repertoire. Grade 5. Sco...(+)
By Ralph Hultgren.
Concert Band. Brolga
Music Symphonic
Repertoire. Grade 5.
Score and set of parts.
Duration 11:10. Published
by Brolga Music
Publishing Company
$180.95 $171.9025 (- 5%) Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Pentatonic Song Book - Book 2 Schott
Vocal SKU: HL.49002762 Melody Book. Edited by Brian Brocklehurst. ...(+)
Vocal SKU:
HL.49002762 Melody
Book. Edited by Brian
Brocklehurst. Arranged by
Brian Brocklehurst. This
edition: ED11344-01.
Sheet music. Edition
Schott. Classical. Melody
Line. 46 pages. Schott
Music #ED 11344-01.
Published by Schott Music
(HL.49002762). ISBN
9790220109591. UPC:
073999327748.
5.75x8.5x0.176
inches. $13.99 - Voir plus => Acheter | | |
| A Family Album Of Favorite Nursery Songs Piano seul [Partition] - Débutant Alfred Publishing
Keyboard. Level: Elementary/Late Elementary (1B/2). Published by Alfred Publishi...(+)
Keyboard. Level:
Elementary/Late
Elementary (1B/2).
Published by Alfred
Publishing.
$11.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Christina Rossetti Songbook Satb A Cappella Chorale SATB Wilhelm Hansen
SATB Choir SKU: HL.14042515 Composed by Christina Rosetti and Per Drud Ni...(+)
SATB Choir SKU:
HL.14042515 Composed
by Christina Rosetti and
Per Drud Nielsen. Choral.
Classical. Octavo.
Composed 2013. Edition
Wilhelm Hansen #WH31717.
Published by Edition
Wilhelm Hansen
(HL.14042515). ISBN
9788759826805.
English. This
collection presents five
Christina Rosetti poems
set by Per Drud Nielsen
for unaccompanied SATB
choir. Had Christina
Rossetti lived 40 years
earlier and not written
in English but in German,
I am convinced that the
many Lied-composers in
the first half of the
19th century would have
gathered around her. And
in many ways I have set
her poems to music in the
spirit of the Lied
tradition: I have made
use of simple, modified
strophic forms. And if
you hear a loan from a
well-known Schumann-Lied
in one of my
Rossetti-songs, you are
not mistaken. - Per Drud
Nielsen. $10.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rites for the Afterlife Theodore Presser Co.
Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxopho...(+)
Chamber Music Bass
Clarinet, Bassoon,
Clarinet, English Horn,
Oboe, alto Saxophone,
soprano Saxophone SKU:
PR.11441998S Composed
by Stacy Garrop. Sws.
Full score. 32 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41998S. Published by
Theodore Presser Company
(PR.11441998S). UPC:
680160681730. 9 x 12
inches. The ancient
Egyptian empire began
around 3100 B.C. and
continued for over 3000
years until Alexander the
Great conquered the
country in 332 B.C. Over
the centuries, the
Egyptian empire grew and
flourished into a highly
developed society. They
invented hieroglyphics,
built towering pyramids
(including the Great
Pyramid of Giza, the
oldest of the Seven
Wonders of the World),
and the created many
household items we still
use today, including
toothbrushes, toothpaste,
eyeliner, black ink, and
the forerunner of
modern-day paper.
Included among their
achievements were a
series of highly
developed funerary
practices and beliefs in
the Afterlife. As the
average lifespan of an
Egyptian hovered around
30 years, living past the
death of oneAs physical
body was a legitimate
concern. Egyptians
believed that upon death,
their souls would
undertake a harrowing
journey through the
Netherworld. If they
survived the horrific
creatures and arduous
trials that awaited them,
then their souls would be
reunified with their
bodies (hence the need to
preserve the body through
mummification) and live
forever in a perfect
version of the life they
had lived in Egypt. To
achieve this, Egyptians
devised around 200
magical spells and
incantations to aid souls
on the path to the
Afterlife. These spells
are collectively called
The Book of the Dead.
Particular spells would
be chosen by the family
of the deceased and
inscribed on the tombAs
walls and scrolls of
papyrus, as well as on a
stone scarab placed over
the deceasedAs heart.
Subsequent collections of
spells and mortuary
texts, such as The Book
of Gates, assisted a soul
in navigating the twelve
stages of the
Netherworld. Not only did
these spells protect and
guide the soul on this
dangerous path, but they
also served as a
safeguard against any
unbecoming behavior an
Egyptian did while alive.
For instance, if a person
had robbed another while
alive, there was a spell
that would prevent the
soulAs heart from
revealing the truth when
in the Hall of Judgment.
Rites for the Afterlife
follows the path of a
soul to the Afterlife. In
Inscriptions from the
Book of the Dead
(movement 1), the soul
leaves the body and
begins the journey,
protected by spells and
incantations written on
the tombAs walls. In
Passage though the
Netherworld (movement 2),
the soul is now on a
funerary barque, being
towed through the
Netherworld by four of
the regionAs inhabitants.
We hear the soul slowly
chanting incantations as
the barque encounters
demons, serpents,
crocodiles, lakes of
fire, and other terrors.
The soul arrives at The
Hall of Judgment in
movement 3. Standing
before forty-two divine
judges, the soul
addresses each by name
and gives a A!negative
confessionA(r) connected
to each judge (i.e. A!I
did not rob,A(r) A!I did
not do violence,A(r) and
so on). Afterwards, the
soulAs heart is put on a
scale to be weighed
against a feather of
MaAat, the goddess of
truth. If the heart
weighs more than the
feather, it will be eaten
by Ammut, a hideous
creature that lies in
wait below the scale, and
the soul will die a
second and permanent
death (this was the worst
fear of the Egyptians).
But if the heart is in
balance with the feather,
the soul proceeds onward.
The final stage of the
journey is the arrival at
The Field of Reeds
(movement 4), which is a
perfect mirror image of
the soulAs life in
ancient Egypt. The soul
reunites with deceased
family members, makes
sacrifices to the
Egyptian gods and
goddess, harvests crops
from plentiful fields of
wheat under a brilliant
blue sky, and lives
forever next to the
abundant and nourishing
waters of the Nile. Rites
for the Afterlife was
commissioned by the
Barlow Endowment on
behalf of the Akropolis
Reed Quintet, Calefax
Reed Quintet, and the
Brigham Young University
Reed Quintet. -S.G. $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sentences St Rose Music Publishing
Chamber Orchestra, Countertenor (Vocal Score) SKU: HL.276515 Counterte...(+)
Chamber Orchestra,
Countertenor (Vocal
Score) SKU:
HL.276515
Countertenor and
Chamber Orchestra Vocal
Score. Composed by
Nico Muhly. Music Sales
America. Classical.
Softcover. Composed 2018.
48 pages. St. Rose Music
#SRO100089. Published by
St. Rose Music
(HL.276515). UPC:
888680990671. 9x12
inches. “S
entences is a
thirty-minute meditation,
in collaboration with
Adam Gopnik, on several
episodes drawn from the
life and work of Alan
Turing. Turing lived, in
a sense, many different
lives, but at the heart
of his work was, I think,
a very musical set of
anxieties. Even the idea
of code-breaking is
inherently musical; the
French for score-reading
is déchiffrage:
deciphering. His wartime
work on the Enigma code
translated, later in
life, to a more nuanced
relationship to code in
the form of a primitive
but emotionally (and
philosophically)
complicated artificial
intelligence. The piece
uses a single voice not
to speak necessarily as
Turing, but as a guide
through these various
episodes.
I've
always felt that the
question of sentient
computers is wildly
emotional: we
anthropomorphise the Mars
Rover, imagining its
solitude on that dusty
planet. Any act of
communication in which
the second person is
unseen can be a one-way
conversation. An email,
sent, can never be
returned - did it arrive
or did it not?, or a text
message can be delivered
but never read. The
thrill of a fast response
is immediately tempered
with the harsh but empty
rudeness of an
out-of-office reply.
Anybody who has made a
condolence phone call
only to hear the voice of
the deceased on the
outgoing answering
machine message knows the
complexities of what
could be a simple binary
communication.”
–Nico Muhly. $23.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| To Hold the Light (GIA ChoralWorks|Spiritum) GIA Publications
SKU: GI.G-1095 Composed by James Jordan & The Same Stream. GIA ChoralWork...(+)
SKU: GI.G-1095
Composed by James Jordan
& The Same Stream. GIA
ChoralWorks. Music
Education. Choral score.
GIA Publications #1095.
Published by GIA
Publications (GI.G-1095).
The Universe
works in strange ways.
Recorded almost three
years ago, none of us
could have known that
when this recording was
released the world would
have lived through a
life-altering pandemic or
a tumultuous upheaval in
the cultural awareness
that now surrounds us.
The work that opens this
recording—with the
words of Quaker George
Fox that end with,
“So be faithful,
and live in that which
doth not think the time
longâ€â€”provid
es a haunting premonition
regarding the time in
which we live, Quaker
George Fox is strangely
prophetic about these
days and perhaps provides
a future caution for us
all. The music chosen for
this recording is
strangely and poignantly
relevant, I believe, for
each of us. “The
Fruit of Silenceâ€
by PÄ“teris Vasks
reminds us to visit those
beliefs that are most
sacred in the work by
Cortlandt Matthews. A
deeply personal Requiem
by Peter Relph, in
reflection, remembers the
hundreds of thousands of
lives lost in the
pandemic. And then there
is Thomas LaVoy’s
“O Great
Beyond.†All great
texts are timeless and
speak to the universality
of the human condition.
Particularly, the George
Fox text set by Jackson
Hill and the Tagore text
set by LaVoy give us
messages to reinforce the
humanness of each of us
for hope. Two other works
on this recording
poignantly remind us of
the passing of life, with
the Relph Requiem and
especially the final
movement of “O
Great Beyond.†May
these words give comfort
to all those who endured
the deepest of
Life’s losses
during our shared
pandemic journey. For so
many loved ones, goodbyes
were said in silence, and
alone. It is our hope
that all the music on
this CD will show us a
way for living as we move
forward and also give
loving comfort to those
who have lost loved ones.
Peace, my heart, let the
time for the parting be
sweet. Let it not be a
death but completeness.
Let love melt into memory
and pain into songs. Let
the flight through the
sky end in the folding of
the wings over the nest.
Let the last touch of
your hands be gentle like
the flower of the night.
Stand still, O Beautiful
End, for a moment, and
say your last words in
silence. I bow to you and
hold up my lamp to light
you on your way.
—Rabindranath
Tagore in The Gardener
(1913). $16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 1712 Overture Orchestre Theodore Presser Co.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra SKU:
PR.416415760 For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760). UPC:
680160636532. 9 x 12
inches. The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Scots Guards Standard Settings Of Pipe Music Volume 1 Cornemuse - Intermédiaire Paterson Ltd
| | |
| Sentences St Rose Music Publishing
Chamber Orchestra, Countertenor (Full Score) SKU: HL.276513 Counterten...(+)
Chamber Orchestra,
Countertenor (Full Score)
SKU: HL.276513
Countertenor and
Chamber Orchestra Full
Score. Composed by
Nico Muhly. Music Sales
America. Classical.
Softcover. Composed 2018.
122 pages. St. Rose Music
#SRO100088. Published by
St. Rose Music
(HL.276513). UPC:
888680989774. 12x16.5
inches. “S
entences is a
thirty-minute meditation,
in collaboration with
Adam Gopnik, on several
episodes drawn from the
life and work of Alan
Turing. Turing lived, in
a sense, many different
lives, but at the heart
of his work was, I think,
a very musical set of
anxieties. Even the idea
of code-breaking is
inherently musical; the
French for score-reading
is déchiffrage:
deciphering. His wartime
work on the Enigma code
translated, later in
life, to a more nuanced
relationship to code in
the form of a primitive
but emotionally (and
philosophically)
complicated artificial
intelligence. The piece
uses a single voice not
to speak necessarily as
Turing, but as a guide
through these various
episodes.
I've
always felt that the
question of sentient
computers is wildly
emotional: we
anthropomorphise the Mars
Rover, imagining its
solitude on that dusty
planet. Any act of
communication in which
the second person is
unseen can be a one-way
conversation. An email,
sent, can never be
returned - did it arrive
or did it not?-', or a
text message can be
delivered but never read.
The thrill of a fast
response is immediately
tempered with the harsh
but empty rudeness of an
out-of-office reply.
Anybody who has made a
condolence phone call
only to hear the voice of
the deceased on the
outgoing answering
machine message knows the
complexities of what
could be a simple binary
communication.”
–Nico Muhly. $53.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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